hypebottag:typepad.com,2003:weblog-441032015-03-03T14:00:00-05:00digital music and the music businessTypePadThe Video Wars: YouTube vs. Facebooktag:typepad.com,2003:post-6a00d83451b36c69e201b7c757f0a7970b2015-03-03T14:00:00-05:002015-03-03T08:59:25-05:00In many ways, YouTube’s dominance in the online video space familiarly echoes Apple’s historic dominance in the downloads market – plenty wish to compete given such an obvious demand, but few companies are capable of taking on such a behemoth. Times have changed. Guest post by Hisham Dahud, Digital Strategy...Guest Post

In many ways, YouTube’s dominance in the online video space familiarly echoes Apple’s historic dominance in the downloads market – plenty wish to compete given such an obvious demand, but few companies are capable of taking on such a behemoth. Times have changed.

It’s been a long time coming, but YouTube finally faces its first direct competitor in the form of a big, blue lowercase “f”.

Tech companies have grown smarter and today realize the importance of owning their users and continually evolving their products to meet the modern demands and user expectations of today. In 2015, no one is better positioned to own a significant chunk of the online video space than Facebook.

Facebook began rolling out native videos to users’ news feeds allowing for videos to auto-play right in front of them without clicking a button (only for sound). The strategy was to have users rely on Facebook as their go-to video upload destination since they had already amassed an audience of friends and followers. Facebook was smart to build upon the social component first and the video component later, since after all, what good is video content if there’s no one there to witness it? While YouTube videos were only a click away on a news feed, why go through barriers to access when the content is most easily consumed right there?

Facebook’s strategy is proving to be working.

According to Facebook, the number of video posts per user has increased 75% year-over-year globally and 94% in the US. Total global growth in Facebook video is 360% when brands and advertisers are taken into account. Facebook also claims that more than 1 billion video views occur on its platform daily, and on average more than 50% of people who visit Facebook every day in the US watch at least one video.

In contrast, YouTube saw its unique desktop video views decline by 9% year-over-year in September. We’ve seen outstanding video views on Facebook compared to YouTube for many of our clients’ videos, but remember that Facebook’s auto-play function has a lot to do with this.

What are some ways to ensure your Facebook native videos perform well?

Here are a few suggestions direct from the company:

Be conscious that people will most likely discover your video in the News Feed adjacent to a photo from a friend or a status update from a relative. Your video needs to fit in, and it needs to be something that your audience will want to watch and share.

With the launch of auto-play and the surge in mobile use, it’s also important to focus on posting videos that grab people from the first frame of video.

Shorter, timely video content tends to do well in News Feed. Keep in mind that auto-play videos play silently in News Feed until someone taps to hear sound, so videos that catch people’s attention visually — even without sound — often find the most success.

Why YouTube's 1 Billion Viewers Still Aren't Enough To Turn Profittag:typepad.com,2003:post-6a00d83451b36c69e201bb07faf6f2970d2015-03-03T13:15:00-05:002015-03-03T15:30:37-05:00YouTube has succeeded in establishing itself as the premier destination for online video consumption, so how is it possible for a platform with an audience exceeding 1 billion viewers to remain an unprofitable business? It's really quite simple. YouTube is stuck. The company is treading water - while top competitors...Laura Schneider

YouTube has succeeded in establishing itself as the premier destination for online video consumption, so how is it possible for a platform with an audience exceeding 1 billion viewers to remain an unprofitable business? It's really quite simple.

YouTube is stuck.

The company is treading water - while top competitors are gaining ground.

According to the Wall Street Journal, YouTube's posted revenue of $4 billion in 2014 (up $1 billion from the year previous) and 6% contribution to Google's sales did not yield a profit. In fact, reportedly, the online video platform is barely breaking even.

Facebook, by stark comparison, reported over $12 billion in revenue, turning $3 billion in profit with their 1.3 billion users in 2014. Adding insult to injury, both Facebook and Twitter are working on in-house video options which will detract significantly from traffic previously directed towards YouTube.

Spinning their wheels in the rut of a primarily teen/tween based audience, YouTube has been unsuccessful in gaining the traction necessary to meaningfully expanding it's reach.

in 2012, YouTube shifted gears in attempt to create an online video experience for users that mirrored traditional television while offering an user driven alternative, but the high concentration of "junk" content populating YouTube has contributed to the lack of the concept's adoption. Combatting an over saturated market while competitors pull ahead with custom built, in-platform video players is, by and large, not boding well for YouTube.

Attempts at upping subscription based revenue doesn't look too promising for YouTube either. After a lackluster launch of YouTube Music Key, Google executive Susan Wojcicki has a mess on her hands and a lot on her shoulders as she heads into her second year running YouTube. With YouTube already shoveling out bonuses to keep key content contributors on their platform, and the possibility of continued declining profit margins for Google on the forecast, odds of a competitive budget remaining in place to invest in new content and better services are ever fading. And behind the scenes the record labels are demanding more money.

If YouTube can't catch up, they're going to find themselves falling behind. While service upgrades such as auto-play and Google ad integration are being promised in the near future, one can't help but wonder if the best days for this online video giant are behind them.

Amanda Palmer has long been a hero both to her legions of loyal fans and to other independent musicians and artists who appreciate both her music and her determination. Repeatedly, Palmer has shared her concerns, needs and ambitions with fans (1.07 million on Twitter), and they've responded.

Now, Palmer is turning to fan patronage platform Patreon to connect with and be rewarded by her most loyal fans. "I've been struggling since I got off my label in 2008 to find the right platform for ongoing support, through which I can release constant material (and get paid)." Palmer wrote to her fans. "I think this is it."

Like many ongoing Patreon campaigns, Palmer is offering fans access to a stream of exclusive content. $1 per posted content nets access to a private Patreon-only feed where she'll post thoughts, songs and more. A pledge of $3 makes that content downloadable for permanent private use. $5 adds the fan to a "random surprise group" that gets bonus content. $10 entitles them to all of the above, plus a monthly interactive webcast. 30 "Angel Investors" who pay $100 for each piece of posted content will receive more personalized attention from the prolific Palmer.

Patreon's Jack Conte

In a call yesterday, Patreon founder Jack Conte expressed his excitement at working with Palmer. "Amanda has a very, very special relationship with her fans. I've never seen anything like it." said Conte, who built his own musical career as on YouTube and now Patreon as half of the musical duo Pamplamoose. "We've been talking about working together for almost 18 months. It's important to Amanda to get things right for her fans."

Patreon, which has raised just over $17 million to date, is on a roll; and the attention with that usually follows Amanda Palmer is likely to accelerate growth. In fact, the company has jumped from 6 to 22 staffers in the last year, and is currently hiring.

Using Spotify Playlists To Boost Your Fan Base tag:typepad.com,2003:post-6a00d83451b36c69e201b7c757c3f4970b2015-03-03T11:30:00-05:002015-03-03T09:47:09-05:00One thing that artists can do to increase fan engagement and even their fan base is to create and share Spotify playlists.This has been shown to gain a lot of attention with both fans and non-fans alike. It's also something that big brands do all the time. Guest Post by...Guest Post

One thing that artists can do to increase fan engagement and even their fan base is to create and share Spotifyplaylists.This has been shown to gain a lot of attention with both fans and non-fans alike. It's also something that big brands do all the time.

One example is Red Bull, who sponsor a discovery playlist, and another is Coca-Cola, who create branded playlists built around a "happiness" theme.

One of the reasons this works is because Spotify patrons don't like ads, but they do like brands, and the playlists help them identify with it. Of course the caveat is that you have to treat the creation of the playlist with some thought and an interesting approach to be taken seriously.

A good example is a friend who created a a playlist based around the soundtracks of Will Smith movies. He was astonished to find more than 50,000 shares within the first 24 hours.

Using Spotify playlists is just another way to increase audience engagement and increase your fan base. If you listen to Spotify a lot, put your listening to good use and create and share a playlist.

The Challenges And Opportunities Facing Georgia’s Music Industrytag:typepad.com,2003:post-6a00d83451b36c69e201bb07fbbc29970d2015-03-03T11:00:00-05:002015-03-03T09:24:51-05:00Georgia Music Partners (GMP) recently published a white paper analyzing the current state of Georgia's music industry. The publication reveals competitive challenges and opportunity for growth within the music business statewide. According to an economic impact study commissioned by GMP and conducted by B. William Riall, Ph.D. in 2011, Georgia's...Laura Schneider

Georgia Music Partners (GMP) recently published a white paper analyzing the current state of Georgia's music industry. The publication reveals competitive challenges and opportunity for growth within the music business statewide.

According to an economic impact study commissioned by GMP and conducted by B. William Riall, Ph.D. in 2011, Georgia's music industry made an impact of $3.7 billion, generating over $300 million in tax revenue for state and local government. The white papers outline areas within Georgia's music industry in need of improvement and highlights the state's best opportunities to increase growth and further boost economic impact.

Mala Sharma, co-president of GMP said “GMP is seeking to develop and promote programs that start at the education stage and continue through the life cycle of a music person or company’s career. Our goal is to create and market brand awareness for Georgia music, promote growth in Georgia’s music economy and advocate for improved partnership between education and current industry needs.”

“What marvelous opportunities are before us to strengthen and grow Georgia’s music industry,” said Michele Rhea Caplinger, Senior Executive Director, The Recording Academy Atlanta Chapter and Vice President of GMP. “The collective enthusiasm within our creative community is contagious and unstoppable. Georgia’s great diversity is a perfect complement for growing our fertile creative landscape. It’s time to link arms, brain trust and resources. If we can create meaningful market brand awareness for Georgia music, as well facilitate improved partnerships between education and the music industry, we are certain to realize greater success for a healthier music economy in Georgia.”

How To Create 5-Year Business Plan For Your Band tag:typepad.com,2003:post-6a00d83451b36c69e201b7c75791be970b2015-03-03T10:30:00-05:002015-03-03T09:21:52-05:00In any endeavor, it is a good idea to plan, plan, plan. While the music business can often be seen as only a creative endeavor, having a good business plan for your music career is just as important. Every successful business does a lot of planning BEFORE they even begin...Nia R Jones

In any endeavor, it is a good idea to plan, plan, plan. While the music business can often be seen as only a creative endeavor, having a good business planfor your music career is just as important.

Every successful business does a lot of planning BEFORE they even begin to do the work they set out to do. They calculate risks and potential rewards when it comes to making a plan. In the music business, where there are so many variables, it is best to do as much planning for your career as possible to maximize success. In this article, Cherie Nelson shares how you can apply SMART business practices to your music career.

Often, when we sit down to plan, it is a normal reaction to sit and write our all of our hopes and dreams that we have for our careers. However, a dream in itself is nothing with out a tangible way to make that dream possible. SMART goals can help you hone in on the details of your dreams so that when it comes time to execute your plan, you are focused. Check out Cherie Nelson's article on creating a SMART business plan for your band on MusicThinkTank.com.

"The competitive nature of the music industry is why many musicians either fail to garner the attention they deserve, eventually disappearing from the scene while others give it their all for several years, but to no avail. For the few who do make it, the fame and glory is often short-lived because they failed to define their SMART goals and missed the opportunity to capitalize on their proverbial 15 minutes of fame."

Finland Sends Unique Punk Band To Eurovisiontag:typepad.com,2003:post-6a00d83451b36c69e201b7c75813a1970b2015-03-03T10:00:00-05:002015-03-03T08:56:25-05:00Eurovision has always been a contest about pop music - albeit the diverse range of European pop. But Finland sending a punk band made up of musicians with learning disabilities to the Eurovision Song Contest is welcome news. A punk band made up of musicians with learning disabilities is to...Bruce Houghton

Eurovision has always been a contest about pop music - albeit the diverse range of European pop. But Finland sending a punk band made up of musicians with learning disabilities to the Eurovision Song Contest is welcome news.

A punk band made up of musicians with learning disabilities is to represent Finland at the Eurovision Song Contest. The quartet, named PKN, was chosen by Finnish viewers on Saturday and has now been ranked by bookmakers as among the favourites for the contest.

The group, whose members have Down`s syndrome and autism, will perform their 85-second song Aina Mun Pitaa (I Always Have To) at the event in Vienna in May. "Every person with a disability ought to be braver," singer Kari Aalto said. "He or she should themselves say what they want and do not want," he told Finnish broadcaster YLE.

The group - full name Pertti Kurikan Nimipaivat (Pertti Kurikka`s Nameday) - will also become the first punk band to compete at Eurovision. They first got together during a charity workshop and appeared in an award-winning 2012 documentary called The Punk Syndrome.

The song deals with the frustration of the rules of daily life, like having to eat healthily and doing chores like cleaning and washing up.

Beck's Grammy Award Winning Album 'Morning Phase' Is Just $1 On Google Playtag:typepad.com,2003:post-6a00d83451b36c69e201b7c7582248970b2015-03-03T09:30:00-05:002015-03-03T09:30:00-05:00Not everyone thought Beck should win the "Best Album" Grammy for "Morning Phase," but its hard not to deny it is a good album. And since its one of the lowest selling Best Album winners in Grammy history, chances are you don't own it. In their ongoing effort to get...Bruce Houghton

Not everyone thought Beck should win the "Best Album" Grammy for "Morning Phase," but its hard not to deny it is a good album. And since its one of the lowest selling Best Album winners in Grammy history, chances are you don't own it.

In their ongoing effort to get music lovers to pay attention, Google is selling a download of Beck's Grammy winning "Morning Phase" for just 99 cents. Drake's 2010 release Thank Me Later and Daft Punk's 2001 Discovery are also available for 99 cents each.

Why You Should Be Paying Attention To James Bay If You Aren't Alreadytag:typepad.com,2003:post-6a00d83451b36c69e201b8d0e0ee4e970c2015-03-03T09:02:37-05:002015-03-03T09:02:37-05:00If James Bay isn't already on your list of artists to watch in 2015, the Brits Critics Choice Award winner should be. Currently projected by Next Big Sound to have a 40% chance of hitting the Billboard 200 this year, Bay has leveraged social media to grow his fan base...Guest Post

If James Bay isn't already on your list of artists to watch in 2015, the Brits Critics Choice Award winner should be. Currently projected by Next Big Sound to have a 40% chance of hitting the Billboard 200 this year, Bay has leveraged social media to grow his fan base and build his career.

While it would be easy to get caught up in the trappings of everything that is going on with his own career – awards, press, world travel, sold-out tours – Bay is reflective about the hard work and good fortune it takes to get where he is, the essential value of time and experiences when it comes to creating music, and the direction and future of the music industry.

Bay grew up in Hitchin, a small town north of London. Despite his young age – Bay is just 25 – he has been making music for more years than he can count. He taught himself to play the guitar, and spent years writing music and playing in bands. At 19, he moved south to Brighton, and says that is when he started stepping out on his own. “That’s where I went crazy with the whole solo thing, playing open mic nights,” he recalls. “Really learning how to play live, and how to capture an audience.”

One thing led to another says Bay. A video recording of a performance ended up at Republic Records and they reached out. “They said ‘we’d love to fly you over and hear some more songs.’” That was only Bay’s second trip to New York in his life. Next time he’s in town, he’ll be releasing his debut full-length album. Chaos and the Calm will hit the shelves this March.

And the timing couldn’t be better, recently the accolades have been rolling in for Bay. “The Brits Critics Choice Award was out of this world,” he says. “I get to release my debut album soon. I’ve been dreaming about this for years.” He also received a nod from BBC as runner-up for Sound of 2015. He’s been highlighted as a rising star by Spotify, Yahoo, Next Big Sound, MTV - and the list goes on and on.

The first track to really gain traction for Bay was “Let it Go.” A melancholy track about love and loss, Bay’s pristine and aching vocals have made it an instant hit. In recent months, he has been seeing a similar amount of play for “Hold Back the River,” as well as a significant number of radio spins. (About 140,000 YouTube detections in the US since the beginning of the year for either track.) But Bay says there is no single track that represents his upcoming album.

He currently has about a 40% likelihood of hitting the Billboard 200 this year, according to Next Big Sound. Driving this high chance of success is strong social growth. He added more than half his Facebook following in the past three months, and more than 50,000 new followers on Twitter, a 262% increase from the three months prior. He has close to 14 million video views in total on Vevo, and 3 million plays on SoundCloud.

As for the current state of the music industry, Bay has a strong sense of the value of working with a label. ”They’ve given me time and space, which are pretty priceless things to be given,” he says. “I didn’t sign a deal and start making a record right away.” He says he didn’t feel ready, he wasn’t sure what he wanted it to sound like just yet. His team at Republic recognized that, and didn’t push, giving him the bandwidth to really figure it out.

On artists that leverage independent opportunities he says: “There are a lot of different streams to that ocean.” It costs money to make an album. How you pay for it is up to you, but every route to success is valid.

When it comes to brand collaborations, Bay is clear. “I think it’s a way forward for music, the industry has struggled with the internet.” But he doesn’t see the value of working with just anyone. “I am not going to throw myself at some enormous car company,” he says. “It has to come down to the artist. It has to feel right.” What he is really excited to see, are brands digging deep and uncovering real talent at an early stage, and bringing this music to a wider audience.

Bay has a warm and welcoming disposition. He greets me by my first name off the bat, squirms a bit when I ask him what his favorite song is – how do you pick just one? He settles on “Lean on Me,” thanks me for asking him fun questions, and shares that his favorite color is purple. Given his current trajectory though, don’t be surprised if it’s soon gold or platinum.

This article originally appeared on Forbes.com. Liv Buli is the resident data journalist for music analytics company Next Big Sound. She takes a data-driven perspective to covering the ins and outs of the music industry. Buli is a graduate of New York University’s Arthur L. Carter Journalism Institute and her work has appeared in Newsweek Daily Beast, Forbes, Billboard, Hypebot and more.

YouTube Announces 2015 YouTube Music Award Recipients tag:typepad.com,2003:post-6a00d83451b36c69e201b7c7578708970b2015-03-02T13:30:00-05:002015-03-02T13:30:00-05:00YouTube is thanking artists who have shown significant growth in viewership and engagement by honoring them with a YouTube Music Award (YTMA). YTMA recipients were selected by the fans, as award criteria was based on collective interaction over the last six months. These artists are recognized as having effectively gone...Laura Schneider

YouTube is thanking artists who have shown significant growth in viewership and engagement by honoring them with a YouTube Music Award (YTMA). YTMA recipients were selected by the fans, as award criteria was based on collective interaction over the last six months.

These artists are recognized as having effectively gone above and beyond to utilize YouTube as a tool for music discovery and a destination for artist to fan interaction. Their level of fan engagement puts them on the map as artists to watch in 2015.

On March 23 at 10 a.m. PT, we’re doing something never before seen on YouTube—dropping a collection of exclusive, new music videos from established and emerging artists, all at once. We've selected some of the most original music video directors alive today to produce these new videos and enlisted VICE to produce the entire program. The performers include:

These artists will even pull some of you into the action, inviting you to go behind the scenes at shoots, be a part of their videos and more. Stay tuned by subscribing to the YouTube Music Awards channel, and prepare your eyeballs and eardrums to experience the music on March 23!

Why Your Local Record Store Clerk Is Having A Worse Monday Than Youtag:typepad.com,2003:post-6a00d83451b36c69e201b8d0e07358970c2015-03-02T13:00:00-05:002015-03-02T11:35:02-05:00The service industry is a special kind of challenging, particularly retail. There is no telling who or what could walk through your door. The kind folks at Dangerous Minds have spent 2002 - 2014 documenting some of the finest idiocracy to grace their record store. One too many morons made...Laura Schneider

The service industry is a special kind of challenging, particularly retail. There is no telling who or what could walk through your door. The kind folks at Dangerous Minds have spent 2002 - 2014 documenting some of the finest idiocracy to grace their record store.

One too many morons made their way into this record store, so the staff started keeping a journal of the stupidest phone calls, weirdest questions, and rudest customers they encountered. Having started this endeavor in 2002, multiple volumes have been penned. Enjoy a few of the highlights (and be thankful you're reading these entries - not writing them).

Happy Monday, folks! Don't be an idiot.

Customer: “Why are there only 12 songs on this CD?” Clerk: “Uh, that’s just how many songs are on it.” Customer: “So, there’s six songs per side?”

Customer: “Do y’all have any cuban music? Like Kenny Chesney or Jimmy Buffett but without the Kenny Chesney and the Jimmy Buffett.”

Clerk: “No I’m sorry I can’t buy any of these (caked in mildew and ratshit) records.” Customer: “Well, how about you just give me $20 and throw them all away?” Clerk: “...”

Customer has an inquiry about the Led Zeppelin BBC Sessions: Customer: “What does BBC session mean?” Clerk: “Well, it would have been a session recorded for British BBC radio.” Customer: “So is it in English?”

Equal And Transparent Streaming For All - A Proposal For Our Industry [Emily White]tag:typepad.com,2003:post-6a00d83451b36c69e201b8d0e0756e970c2015-03-02T11:59:00-05:002015-03-02T11:17:44-05:00" Legal streaming is something I had been awaiting for years as a music fan. It took our industry over a decade to finally release platforms that are seamless for consumer use as opposed to suing fans in the Napster era." writes Emily White. "As I’m all about things that...Guest Post

"Legal streaming is something I had been awaiting for years as a music fan. It took our industry over a decade to finally release platforms that are seamless for consumer use as opposed to suing fans in the Napster era." writes Emily White. "As I’m all about things that make sense, as a fan, I couldn’t wait; ​championing this concept ​in 2010 right before it came upon U.S. shores."

I am in a unique position in which I deeply understand how we got here from a business model perspective. Spotify ultimately had to do “deals with the devil” as far as many of my indie artists and label friends are concerned to get in bed with and legally make major label content available in streaming form so the vast majority of released music could exist in this state in the first place. Spotify paid A LOT of money for this to happen and yes, of course, major labels are also invested in this concept.

Meanwhile there has been an outcry amongst just about everyone else in the ecosystem proclaiming that this isn’t fair. On one hand, I don’t think Spotify had a choice and understand this. I applaud them for taking that step so modern and legal streaming can exist in the first place. (Of course there are other streaming platforms ­ Rdio, Deezer, Rhapsody, etc., but Spotify is the brand name for a lot of hate, deserved or not).

Despite understanding the business and why behind how we got here, I have devoted my life to championing and defending artists’ rights. Similarly, as a commission based manager, my income only exists in that respect when my artists make money. The point is, I deeply get both sides.

Ultimately artists are frustrated due to lack of transparency and fairness. Meanwhile when recently loading music onto an underwater MP3 player before going to workout and swim some laps, I was slightly annoyed for a moment when I realized this would take 15 minutes (vs. streaming which is instant). Quite the first world problem, however, I was anxious to begin exercising to wrap up a long work day. I thought to myself, “This is why people love streaming. It just works.” Let alone the fact that I can take virtually all music sans The Beatles with me on the subway, to the beach, around the globe and not have to bog down my devices with files (or drag around physical CD’s as I did growing up).

Here we are now with legal streaming platforms and artists feeling lost with regard to transparency and equality. As I heard Peter Jenner state at The Future of Music Coalition Policy Summit last Fall (full disclosure, I’m on their board), Peter stated “I wish we could just knock these deals down and start from scratch, building everything up in a way that is fair and makes sense.”

Initially I found that statement depressing, because it seemed impossible. However, my thoughts shifted throughout these collective experiences resulting in the following proposal for our industry:

Why don’t we create a platform in which rights holders upload their music and everyone splits the revenue that is earned equally? Artists are upset about getting paid fractions of pennies and regardless, that model is not sustainable as it is not derived by the amount of users or income. We should be dividing the revenue that is earned on a streaming platform equally to all who are on it ­ 50% to the person (love when it’s the artist) or entity who controls the master and 50% to the songwriting side.

The artists / rights holders can vote on what the monthly price point is resulting in an average that sets the public’s price point. No one can then complain about a “Free” tier (which of course is not free, it is ad­supported), or that $9.99/month is too low. I don’t know what the sweet spot is​,​$15/month? $150 /year for a bulk discount? Each artist / rights holder has a say and therefore dictates the average and final consumer facing price. Let the content creators decide and set the price point.

Then divide all revenue up per stream. Yes it will get tricky depending on how long someone listens to a song, but let’s count listening to at least 50% of a strong as a full stream. Say there is $100,000 USD in revenue generated. Or $1M USD or $100M USD. It is a sustainable model in which everyone is paid equally and fairly. It’s true that smaller artists will make less. But ultimately one can’t complain if they are getting their fair share. The more fans that participate, the better it is for everyone. The more people who listen due to Taylor and Thom and whomever else, the more there is for all artists and content creators, with everyone getting their equal take in the end.

Another major win for the industry that I feel is all too often overlooked by larger entities, is Bandcamp. $97 Million USD has flowed through Bandcamp’s platform to date (When I initially wrote this piece in December, it was $92M; a $5M increase in just 3 months!). ​However, I am constantly battling and educating labels on what Bandcamp is and why we should have our artists’ music there​. Here we have a platform in which an artist said to me and her label recently “Why would we prevent a fan from giving $100 to my album if they want to? Why limit the price point of downloads to $9.99?”

Thus, for this proposed streaming model, I am adding in a download option in which the artist / rights holder sets their own / minimum price point for the fan to name their own price if they’d like for downloaded content and 100% goes to master / songwriting (50/50). On the streaming side, artists make their equal share from the pot based on the stream. With regard to downloads, the artist / rights holders keeps 100%.

Let’s talk about that 100%. Right now digital retail and streaming outlets such as iTunes and Spotify take about 30% off the top. That’s fine, I happen to be writing this from America and these are for­profit companies who have teams and technologies they need to pay for.

Garth Brooks is proposing an iTunes alternative that takes 20% off the top to undercut iTunes. Bandcamp takes 15% or less, undercutting this concept further, giving more to artists / rights holders than any platform, other than a true direct to consumer option.

How do we pay for this? It is up to the artists themselves and caring donors to give back to this model and concept so it can run and there are folks to ensure the platform exists and is execute on properly. To begin with, yes there are expenses for the technology and team. As with any non­profit, these funds must be allocated before payouts can truly begin. However, as the concept and platform grows, this non­profit can be funded by grants and private donations and the dream would be for all costs to be covered this way, so a true 100% of revenue can flow to artists / songwriters and rights holders.

And on the fan side? Why do you think Bandcamp is working? Because they take a smaller cut than other service providers and operate a company where much of the work is done by content creators. There are educated consumers out there who WANT to support artists and content creators as much as possible. However, the average fan is so confused with the amount of misinformation out there that they don’t know where to turn.

Thus, I am proposing the above equal and fair streaming model intertwined with the best rate for a download option in the world:

To summarize:

● Everyone works together.

● Everyone is paid equally and fairly based on transparent revenue that comes in, with funds paid out to rights holders based on their percentage of music streamed.

● The public understands the model and are empowered by it. Of course this isn’t every music fan, but we are all aware of the amount of informed consumers out there who actually do pay attention to how and what their money goes towards.

Can we all work together and do it? I’m not sure, though I do hope so. As this is a utopian and transparent concept, I wanted to put it out into the world instead of building it behind the scenes. That said, apparently the U.S. government agrees! I applaud the ​U.S. Copyright’s Office Music Licensing Study​calling for transparency in payments as well as equality, amongst other elements, and I couldn’t agree more. Similarly, this concept isn’t to knock other services. As an artist manager, I want my clients’ music in all legal and available outlets so no fans are missed.

I truly believe the vast majority of people both on the artist and industry side got into it because they love music. We are one music community who has more in common with each other than not. Ultimately if we all work together, everyone one wins. Of course winning means something different to each individual and group; but if we build a streaming model that is equal, fair and transparent, how can one complain? When meanwhile an option exists for the most hardcore fans to support the artist directly (not to mention that I would propose sharing all email addresses and city / state / country data of fans who download the artist’s music with the artist; stating that clearly for the consumer of course).

I’d love to see everyone work together. I’m ready to make this work if you are.

Music Publishing News Roundup 3.2.15: Global Release Day, Spotify Lyrics, Beatport & Moretag:typepad.com,2003:post-6a00d83451b36c69e201b8d0df38ef970c2015-03-02T11:45:00-05:002015-03-03T14:01:11-05:00[UPDATED] Friday has been set as the global record release day according to a recent report from the International Federation of the Phonographic Industry. This announcement follows the IFPI’S recent report that showed that a majority of active music listeners prefer new music to be released on Fridays and Saturdays....Songtrust

[UPDATED] Friday has been set as the global record release day according to a recent report from the International Federation of the Phonographic Industry. This announcement follows the IFPI’S recent report that showed that a majority of active music listeners prefer new music to be released on Fridays and Saturdays.

With this in place, international music listeners will have access to new released at the same time regardless of the country they live in. Press releases have been released from executives at RIAA, Concord and Rdio in support.

Spotify has added a lyrics button to their desktop player through MusixMatch’s Lyrics. With the latest update of Spotify’s desktop client, they have removed the “App Finder” feature and added a button that allows users to lyrics for any song they are listening to. The newest update will also feature a new Friend Feed that vies users more information on what their friends are listening to. Plans for releasing a lyrics button to their mobile apps are still to be determined.

Beatport has released a free dance music streaming service. The music site, originally providing high quality downloads for DJ’s live sets was acquired by SFX in 2013, at which point they began planning a complete overhaul of the entire site. The new streaming service will focus on discovering new music and will focus on the dance/EDM genre.

In 6 Months SoundCloud Has Approved Just 100 Premier Partners, Payments Total $1 Milliontag:typepad.com,2003:post-6a00d83451b36c69e201b8d0e0b1fe970c2015-03-02T11:00:00-05:002015-03-02T10:53:46-05:002015 is the year that SoundCloud needs to implement a monetization strategy - both for itself and for the creators that have made the platform so popular. Today the company released the first stats from its Partner platform which launched last August to address the problem. This morning SoundCloud announced...Bruce Houghton

2015 is the year that SoundCloud needs to implement a monetization strategy - both for itself and for the creators that have made the platform so popular. Today the company released the first stats from its Partner platform which launched last August to address the problem.

This morning SoundCloud announced that they've signed up 100 Premier Partners and paid them $1 million in advertising revenue since launching 6 months ago.

SoundCloud has been under pressure from the major labels and other rights holders to monetize more of the content available on the platform. Negotiations have been rumored to be difficult, but ongoing; and in August, SoundCloud added advertising with the promise of sharing that revenue with approved Premier Partners.

Six month later, the list of Premier Partners receiving payments - though including some significant creators like Green Label Sound, Sizzlebird, Maker Studios, Epic Rap Battles and comedian Kim Dawson - totals just 100, all in the U.S.

175 Million Monthly Users = $166,000 Monthly Payments

Payments to these Premier Partners total $1 million since August, according to SoundCloud. That's an average of just $10,000 per partner. Meaning that SoundCloud has $166,000 a month in payments from a service that as of December 2014 attracts more than 175 million unique users a month listening to free content from creators who upload 12 hours of audio every minute.

SoundCloud, which was founded in 2008, has said that they will expand the Premier Partner program outside of the U.S. and to more creators; but have decline to say when.

5 Reasons Music Streaming Services Can Benefit Artiststag:typepad.com,2003:post-6a00d83451b36c69e201b7c7572f7f970b2015-03-02T10:40:30-05:002015-03-02T10:41:31-05:00One of the biggest controversies surrounding the music industry is whether music streaming services are good or bad for artists. Here are 5 reasons why music streaming services are good for artists. Guest Post by Daniel Sander on Feature.fm Blog 1. It's where people listen This one is simple. Whether...Guest Post

One of the biggest controversies surrounding the music industry is whether music streaming services are good or bad for artists. Here are 5 reasons why music streaming services are good for artists.

1. It's where people listen

This one is simple. Whether you believe streaming services are good or not, it's where fans are listening to music. You can't fight this. Streaming services are growing exponentially in popularity and are becoming the primary music consumption source for music consumers. It's important to understand and accept that streaming services are here to stay and adapt. This gives artists the easiest access to get their music to the fans and also gives fans the best access to music.

2. The answer to pirating music

Look. Whether you like it or not, people who want to get music for free are going to. Streaming services offer a solution to pirating music that pays the artists. If people are pirating music, the artist gets paid 0.

The subscription model is leading to more payment for music by consumers, many of whom appear to be shifting from pirate services to a licensed music environment that pays artists and rights holders. - IFPI

3. Easy distribution

Since iTunes launched in 2002, the music industry has changed drastically. Major labels are no longer the gatekeepers of distribution and pushing out Top 40 music. Distribution used to be extremely expensive, but because artists rely less on labels to produce physical copies of their work, it's become easier than ever to distribute their music. This also means that it's easier than ever for people to get music.

4. Getting people to pay for music again

I've said it before. The money for music doesn't come from the streaming services. It comes from the consumer. Without paying consumers, streaming services won't have revenue to dish out to rights holders. Streaming services work on artists' behalf to convert consumers back to paying customers for music. The only thing that's changed is the model by which people pay. People are able to rent music now and artists are compensated on more of a "pay as you go" plan rather than forcing people to purchase ownership of music. Remember, one single stream of a song to one person one time should provide a very different payment structure than someone purchasing a song to listen to as many times as they want.

Subscription services, part of an increasingly diverse mix of industry revenue streams, are going from strength to strength. Revenues from music subscription services — including free-to-consumer and paid-for tiers — grew by 51.3 percent in 2013, exceeding US$1 billion for the first time and growing consistently across all major markets. - IFPI

Streaming services offer a solution to get people to pay for music again and have been seeing growth in paid subscriptions up 40% in 2013 from 2012.

The number of paying subscribers to subscription services rose to 28 million in 2013, up 40 percent on 2012 and up from only eight million in 2010. - IFPI

For the argument about artists being paid fairly, it's important to look at a few things:

The main two types of royalties: a) Royalties paid to the labels and performers for the song recording b) Royalties paid to the publishers and songwriters for the song performance

There is ongoing litigation around the fair rate of compensation that should be paid towards each of the types of royalties. The current system may not be perfect, but the number one thing to take into consideration is:

how revenue is split between labels, publishers, artists, songwriters, and other rights holders in the pie. Techdirt recently published an article that explains how much of the revenue is distributed to each party.

5. Analytics

Information is the basis for all decisions. The ability to have such great access to the digital environment allows artists to gain insight into how people interact with their music like never before. Everything is trackable now and streaming services are making big efforts to help artists analyze their music to make better informed decisions around production and promotion.

Do you think music streaming services are good for artists? Let us know your thoughts in the comments.

Naxos Introduces Lossless Classical Music Streaming With ClassicsOnline HD•LLtag:typepad.com,2003:post-6a00d83451b36c69e201b8d0e06bff970c2015-03-02T10:19:03-05:002015-03-02T10:19:03-05:00To the average music consumer, the loss in sound quality created by buffering is virtually undetectable - but to the classically trained ear, the difference detectable when streaming music can be shocking. Naxos has countered the problem by introducing ClassicsOnline HD•LL, a lossless streaming service for classical music worldwide. The...Laura Schneider

To the average music consumer, the loss in sound quality created by buffering is virtually undetectable - but to the classically trained ear, the difference detectable when streaming music can be shocking. Naxos has countered the problem by introducing ClassicsOnline HD•LL, a lossless streaming service for classical music worldwide.

The streaming service on ClassicsOnline HD•LL employs the use of adaptive bitrate technology - allowing subscribers to listen to classical music at the highest possible sound quality available on their home or mobile networks without loss of signal due to buffering.

Upwards of 60,000 albums are available to subscribers from over 500 leading independent classical record labels with options to download at 16- and 24-bit lossless formats, as well as in the MP3 format. ClassicsOnline HD•LL isn't stopping there - the service will expand it's offering daily moving towards the release of the Sony Classics catalogue in late Spring of 2015.

ClassicsOnline HD•LL clearly caters to Naxos' key demographic, classical music connoisseurs and the musicians themselves. Naxos released further details regarding the streaming services and how it would serve their audience in a press release regarding it's launch:

An advanced search engine crafted specifically for classical music provides users unprecedented search options, allowing them to discover new repertoire and recordings. Liner notes, libretti, and composer/artist information are provided for most recordings. After using the sophisticated search, the user can stream in lossless or high-definition sound quality ranging from 24-bit, 44.1 kHz all the way up to 24-bit, 192 kHz depending on the available network capacity, user devices, and equipment. 24-bit technology achieves a much broader dynamic range and increases the amount of detail the human ear can hear, especially during quieter passages of music.

Naxos founder Klaus Heymann stated, "Naxos has never been afraid of making classical music available online, starting with www.naxos.com in 1996 and www.naxosmusiclibrary.com in 2002, long before subscription streaming services became fashionable. The new platform is proof of our commitment to making a wide range of classical music available in state-of-the-art sound with a sophisticated search capability utilizing the vast data base of our various classical music services.”

5 Things the Music Industry Needs to Stop Bitching About tag:typepad.com,2003:post-6a00d83451b36c69e201b7c7572d09970b2015-03-02T09:41:46-05:002015-03-02T09:43:04-05:00In the music business, there are many players who like to play the blame game as to why the industry is in the state that it is in. But maybe it is time to stop pointing fingers and figure out what the real problems in the music industry are. As...Nia R Jones

In the music business, there are many players who like to play the blame game as to why the industry is in the state that it is in. But maybe it is time to stop pointing fingers and figure out what the real problems in the music industry are.

As humans, when things go wrong we naturally like to take blame off of ourselves and place it to others so that there is minimal damage. For the music industry, this phenomenon is much greater. We now live in the age where anyone and everyone has a stake in the state of music so the desire to place blame intensifies. But is placing blame helping? Would it be better to use the things a lot of the people in the music industry complain about and turn proverbial lemons into lemonade? Sari Delmarbelieves so, and shares in this article how we can make the things we complain about most an asset and not a liability.

Nepotism, for example, is normally seen as an awful thing where only those well connected get ahead. Can that be used as fuel for us to work harder and network? We complain that music royalties are non-existent. Can we embrace the many more ears that hear the music we fight to guard? We hate the madness of disorganized politics in music festivals. Can we accept that as a necessary evil. Check out Sari Delmar's take on problems with the music industry at MusicThinkTank.com.

"Managers, agents, publicists, artists, we love to bitch! I’m the first one to admit that sometimes it’s nice to think that the big bad industry has done us wrong and our plight is not directly related to our actions and approach. While sometimes that may be the case, it’s not really useful energy now is it?"

Twitter's Head Of Music Bob Moczydlowsky To Exit, Is He Headed To Apple?tag:typepad.com,2003:post-6a00d83451b36c69e201b8d0df7bde970c2015-03-01T18:30:00-05:002015-03-02T08:55:01-05:00UPDATED: A number of key execs have exited Twitter in recent months, so it should come as no surprise that the company's head of music, Bob Moczydlowsky, is also headed for the door. But does Moz's departure from Twitter signal something more? On Friday, Bob Moczydlowsky, Twitter's Head Of Music...Bruce Houghton

UPDATED: A number of key execs have exited Twitter in recent months, so it should come as no surprise that the company's head of music, Bob Moczydlowsky, is also headed for the door. But does Moz's departure from Twitter signal something more?

I'm ending my time at Twitter in a few weeks. I've loved every day of it, and will miss our great team. What's next? Stay tuned. ;)

Moczydlowsky joined Twitter in 2013 after a stint helping to run Topspin. Before and since his arrival, Twitter has failed to pursue a consistent music strategy. Moz strengthened Twitter's ties with the music industry. But shortly after his arrival, the company shut down its #Music initiative. No new strategy has emerged; and the only major music announcement in the last 18 months was a deal with Lyor Cohen that gave his 300 Entertainment startup access to music trending data.

What's Next?

Moczydlowsky is only one of many execs that left the company is recent month, But his exit could signal more than Twitter cleaning house or a smart guy moving on by choice. Two, not mutually exclusive, scenarios could explain his departure:

1) Twitter has finally figured out that it doesn't work as a music platform. Celebrities and music fans will continue to share tracks and music news, but the pace, length and depth of interactions on Twitter are not well suited for music discovery or any real music monetization strategy.

2) Moczydlowsky is headed somewhere interesting; and all signs point to Apple. They're hiring in their music division; and he'd be rejoining his former Topspin boss and friend Ian Rogers in what is shaping up to be a very interesting relaunch of Beats and iTunes. That's certainly a scenario that would cause Moczydlowsky to add a ;) (wink) to the end of his Twitter departure tweet.

This Week in Music Commentarytag:typepad.com,2003:post-6a00d83451b36c69e201b8d0dfe68f970c2015-03-01T14:00:00-05:002015-03-01T14:00:00-05:00Why Reaching an Audience of Almost No One is Actually a Good Thing Will Apple’s Tastemaker Test Win The Streaming Music Challenge? The Impending YouTube Music ShowdownLaura Schneider

Getting It Done: The Week In D.I.Y & Indie Musictag:typepad.com,2003:post-6a00d83451b36c69e201b8d0df9e13970c2015-02-28T13:00:00-05:002015-02-28T13:00:00-05:00How Much Should You Budget For A Music PR Campaign? Pandora, Spotify, iTunes Hatch Plan To Make Musicians Love Them 5 Underground Music Scenes That Could Explode In 2015 How To Master Your Call-To-Action & Video Presentation On Facebook Knowing How To Protect Your Music Why Reaching an Audience of...Laura Schneider

TOP POSTS: This Week's Most Read Posts on Hypebot.comtag:typepad.com,2003:post-6a00d83451b36c69e201b7c756a194970b2015-02-28T13:00:00-05:002015-03-02T07:41:45-05:005 Underground Music Scenes That Might Explode In 2015 Pandora, Spotify, iTunes Trying To Make Musicians Love Them Will Zane Lowe Be A Discovery Game Changer For Apple? Is There An Impending YouTube Music Showdown Apple Hires More Music Journalists and "A Sea Of Freelancers" Does Spotify's New Lyrics Feature...Bruce Houghton

MusicThinkTank Weekly Recap: Musicians! How to Get The Best Out of Your Gigstag:typepad.com,2003:post-6a00d83451b36c69e201b7c7559bd5970b2015-02-28T11:30:00-05:002015-02-28T03:13:57-05:00Paul Williamson | Musicians! How to Get the Best Out of Your Gigs Jorge Brea | Don't Buy Your Own Music Wallace Collins | Here's the Score On Sync Licensing Cherie Nelson | 3 Tips on Making a Campaign Go Viral Martyn Croston | How to Set Up A Music...Nia R Jones

REWIND: The New Music Industry’s Week In Reviewtag:typepad.com,2003:post-6a00d83451b36c69e201bb07f9ed61970d2015-02-28T10:00:00-05:002015-02-28T10:00:00-05:00FCC Votes 3-2 To Approve New Net Neutrality Rules, Music Industry Applauds Streaming Music Income Is Greater Than Downloads In 24 Territories Digital Music Pioneer Rob Wells Exits Universal Music Without Warning 5 Underground Music Scenes That Could Explode In 2015 Spotify Launches Major Desktop Update: Adds Musixmatch Lyrics, Kills...Laura Schneider

Bjork On Releasing Albums, Free Music, Windowing and Keeping "Vulinicura" Off Spotify tag:typepad.com,2003:post-6a00d83451b36c69e201b8d0deee79970c2015-02-27T13:00:00-05:002015-02-27T16:19:07-05:00As both an artist and a savvy business person, Bjork has always done things differently. The release of her new album "Vulinicura" is no exception. You won't find it on Spotify for now, but that could change... From a new Fast Company interview with Bjork: On Spotify & Free Music...Bruce Houghton

As both an artist and a savvy business person, Bjork has always done things differently. The release of her new album "Vulinicura" is no exception. You won't find it on Spotify for now, but that could change...

"A few months ago I emailed my manager and said, 'Guess what? This streaming thing just does not feel right. I don’t know why, but it just seems insane'... To work on something for two or three years and then just, Oh, here it is for free. It’s not about the money; it’s about respect, you know? Respect for the craft and the amount of work you put into it."

On Windowing Her Releases

"But maybe Netflix is a good model. You go first to the cinema and after a while it will come on ­Netflix. Maybe that’s the way to go with streaming. It’s first physical and then maybe you can stream it later."

On The Album Format

"I think there’s a reason why [albums are] 45 minutes. I don’t think it’s a coincidence that movies are the length they are. It’s a certain storytelling-by-the-fire, cavemen, DNA instinct that feels really natural. But there’s all kinds of music. A lot of the songs I listen to, I don’t want to hear them as albums. They’re pop songs or whatever. And then there are other ones where I want to sit down and listen to a story."

FCC Votes 3-2 To Approve New Net Neutrality Rules, Music Industry Applaudstag:typepad.com,2003:post-6a00d83451b36c69e201b7c755b14a970b2015-02-27T12:00:00-05:002015-02-27T11:03:22-05:00In a contentious meeting yesterday morning, the Federal Communications Commission voted 3-2 to adopt new Net Neutrality rules, preserving a fair and open internet. If you're still wondering what net neutrality means and how this effects you, you're not alone. NPR's Elise Hu provided a bit of clarity in layman's...Laura Schneider

In a contentious meeting yesterday morning, the Federal Communications Commission voted 3-2 to adopt new Net Neutrality rules, preserving a fair and open internet.

If you're still wondering what net neutrality means and how this effects you, you're not alone. NPR's Elise Hu provided a bit of clarity in layman's terms: "Net Neutrality is the concept that your Internet provider should be a neutral gateway to everything on the Internet, not a gatekeeper deciding to load some sites slower than others or impose fees for faster service."

The FCC has voted to reclassify broadband access as a "telecommunications service under Title II", giving them the ability to regulate Internet Service Providers - ensuring fair and open use of the internet. Without these rules in place, the loophole allowing larger corporations to pays ISPs to up their traffic and the speed of their sites would have remained open.

Good News For The Music Industry

Yesterday's FCC ruling is especially good news for the music industry. The internet, having changed how artists interact with, reach, and grow their audiences tremendously and permanently, has become a the primary source of communication and continued interaction for fans and musicians alike. Upholding Net Neutrality means that musicians will retain the ability to have fair access to the online marketplace without paying heavy tolls to ISP giants.

Future of Music Coalition CEO Casey Rae made the following statement:

“This is an incredible moment for so many artists and independent labels who fought to preserve an open and accessible Internet for almost a decade. Creators of all political persuasions and backgrounds embody the very spirit of what net neutrality supporters have sought to achieve in this fight: the ability to compete on a level playing field without discrimination from just a few powerful ISPs. This historic day is a testament to what can be achieved when the creative community comes together with a diverse array of advocates and activists to stand up for free expression and entrepreneurship. We are proud and grateful to see the results of principled and sustained engagement on an issue that will shape the future of music for generations to come."

The new Net Neutrality rules solicited an audible sigh from the independent music sector. Historically, independent artists have operated at a considerable disadvantage sans the support of a major label, but the preservation of an open online marketplace means the somewhat leveling of the playing field that open internet has allowed them to become accustomed to isn't going anywhere.

A2IM President Rich Bengloff released this statement in reaction to yesterday's historic vote:

"We thank Chairman Wheeler and the Commissioners for voting to implement aggressive Net Neutrality rules applying to lawful content, including reclassifying broadband traffic as a Title II utility to prohibit providers from favoring content distributed by the largest companies with the deepest pockets."

The full FCC Fact Sheet provides further details, but three things that will be banned under the Net Neutrality rules are:

"No Throttling: broadband providers may not impair or degrade lawful Internet traffic on the basis of content, applications, services, or non-harmful devices.

"No Paid Prioritization: broadband providers may not favor some lawful Internet traffic over other lawful traffic in exchange for consideration — in other words, no 'fast lanes.' This rule also bans ISPs from prioritizing content and services of their affiliates."

How Much Should You Budget For A Music PR Campaign?tag:typepad.com,2003:post-6a00d83451b36c69e201b8d0deafec970c2015-02-27T11:30:00-05:002015-02-27T11:40:29-05:00Good PR isn't cheap. Nor is it free. If you can't afford a legit PR campaign, then chances are you might not be ready for it... but at the same time, it's also extremely difficult to elevate yourself or your band without some good PR behind you. Guest Post by...Guest Post

Good PR isn't cheap. Nor is it free. If you can't afford a legit PR campaign, then chances are you might not be ready for it... but at the same time, it's also extremely difficult to elevate yourself or your band without some good PR behind you.

Bands often ask me about how to get PR, and I often say that gigging, local buzz, and management must come first. Some balk at having to take those steps or say that they can't afford PR, but I've seen many bands figure out a way to get scrimp, save, and pay for management and PR – you just have to figure out the financials. It's another chance to get creative. I had one artist-turned-producer say this about those who balk about these elements: "If you want it bad enough, you'll find a way to get it."

But how much you pay for PR, like many aspects of this crazy business, is not standardized nor is it subsidized. I'm also not going to share my own rates or speculate about other publicists' rates, since most don't, won't, and shouldn't publicize them. (Oh, the irony, right?) A publicist will happily discuss rates and budgets, but those are subjects for a private conversation and are a confidential matter, as they should be. So, no, I can't really give you a pie chart or a formula about how it shakes out and breaks down, but what I can give you are some general guidelines so you can plan a budget, know what to expect when approaching a firm, and prevent you from getting rolled.

But please know this going in: each and every PR firm or rep will have their own prices and deals that they may or may not want to cut.

1. Temper your expectations

Unsigned bands that want PR should realize that most PR firms are not going to take $300 a month for a full campaign. (And to be clear, it's not going to take $350, either). Servicing tour dates, music, a press release, and information to the media? Sure, that range may work. But extended blanketing and pavement-pounding follow-ups? It's just not economically feasible. That type of campaign will be four figures, not three, and the price will be commeasurate with effort and expectations.Unless you're a celeb, it won't mean $10,000 a month – but again, it doesn't mean under $1,000 either. Negotiation is part of the dance.

Campaigns require elbow grease, education, and repeat follow-ups. That requires time and effort, and a PR person's time and efforts. If there are basic placements and some online buzz serving as the goal, then some PR people will do an intro campaign for a pretty affordable rate and see where it goes. But nothing is dirt cheap. So know that.

2. Even label PR isn't free

If you're signed to a label, you'll have in-house PR which appears to be "free," but it's really factored into your deal. However, an indie firm is often required, requested, desired, or part of the contract due to a previously existing relationship or the manager wanting a dedicated, small operation focusing on building the band's press kit and profile. Depending on goals like TV, magazine covers, or mainstream looks, this is usually several thousands of dollars. If it's just tour press support, it's usually a streamlined rate. If it's just creating a general, early buzz, it's also streamlined. Expectations are the variables here.

3. A mutually beneficial relationship might be best for you

If you can't shell out hundreds or thousands of dollars, then why not try to team up with a developing firm or publicist, so you can grow together at an affordable rate? The hunger and drive that you each have can feed one another and lead to some pretty awesome results. I've seen it happen.

4. Respect and understand the business behind PR

When seeking out PR representation, know going into it that it's not going to be bargain basement or a bro deal either, unless there's some pre-existing relationship in place. Don't expect to be "owed" anything or be given a sweet deal unless you've earned that right. Don't insult a business person with a rich and deep reserve of contacts by expecting them to just "hook you up."

So, those are the most important things to know when it comes to budgeting for music PR for the first time. All of those points – as with every point I make in every article I write for this blog – are based on things I've personally seen, heard, said, and done with bands and labels.

Amy Sciarretto has 20 years of print and online bylines, from Kerrang to Spin.com to Revolver toBustle, covering music, beauty, and fashion. After 12 years doing radio and publicity at Roadrunner Records, she now fronts Atom Splitter PR, her own boutique PR firm, which has over 30 clients. She also is active in animal charity and rescue.

Another Senior Digital Exec Exits Universal Musictag:typepad.com,2003:post-6a00d83451b36c69e201b8d0dee637970c2015-02-27T11:00:00-05:002015-02-27T09:48:22-05:00What is going on at Universal Music? A second key digital music exec has just departed even as renegotiations with iTunes, YouTube and Spotify are reportedly intensifying. David Ring, Universal Music Group's Executive Vice President of Global Digital Business is leaving the company after 19 years. His departure comes just...Bruce Houghton

What is going on at Universal Music? A second key digital music exec has just departed even as renegotiationswith iTunes, YouTube and Spotify are reportedly intensifying.

David Ring, Universal Music Group's Executive Vice President of Global Digital Business is leaving the company after 19 years. His departure comes just days after UMG's Global Digital President and Ring's boss Rob Wells suddenly announced his departure.

In a letter to colleagues, Ring wrote, "It has been my sincere privilege to have had the chance to help UMG and its talented labels and artists navigate the massive changes required to transition from the CD business to the exhilarating digital business of today and tomorrow.”

WHY?

Apple, Spotify and YouTube are all in talks with Universal and other labels hoping to lower prices. At the same time UMG CEO Lucian Grainge has been publicly pushing for a shift towards paid over free music offerings.

Are these key departures as sign that talks are not going well. Or could the pair be joining former UMG colleague Jimmy Iovine at Apple?

What's The Score With Synchronization Rights?tag:typepad.com,2003:post-6a00d83451b36c69e201b8d0dcf04d970c2015-02-27T10:30:00-05:002015-02-24T22:31:23-05:00If you were approached about the use of your music in a TV Show and/or Film, would you know what questions to ask regarding synchronization rights? If you're not 100% certain you know the questions and their answers now would be a good time to do your homework. Guest Post...Guest Post

If you were approached about the use of your music in a TV Show and/or Film, would you know what questions to ask regarding synchronization rights? If you're not 100% certain you know the questions and their answers now would be a good time to do your homework.

As the composer of a film or TV score or as a songwriter whose song is used in a movie, TV show, advertisement, or video game, under the copyright law you own 100% of the copyright in your work from the moment you create the work and "fix it in a tangible medium." However, you must be careful what you sign so that you do not assign those rights away without fair compensation for your work.

When it comes to the use of music there are two copyrights: one in the musical composition or song and one in the sound recording which is the fixation of the sounds that make up the music. When music is used in synchronization with visual images, whether it is created especially for the particular score or whether it is a pre-existing song that the director wants to use in a scene in a TV show or film, this is referred to as the "synchronization" of music with visual images. Permission in the form of a synchronization license (sometimes referred to as a “synch license”) must be procured by the makers of the audio/visual production from both the owner of the sound recording (the artist or record company) and from the owner of the song copyright (the songwriter or publishing company) Sometimes these are one and the same person or entity, sometimes they are not.

A synchronization license may take various forms. If a film's producer, director or music supervisor decides that a certain pre-existing song is right for a particular scene in a film or TV show or commercial or video game, then a synch license covering the master and the composition would be requested. Depending on the length and prominence of the use, if limited solely to use in the film the price can range from a few hundred dollars to tens of thousand of dollars, or more. If the company also wants the right to include the music on a soundtrack album, then additional provisions would be required for that use which would pay royalties for each record sold. Also, the song should be registered with the author’s performing rights society (e.g., ASCAP, BMI, SESAC, etc.) so that revenues from performances in foreign movie theaters (U.S. movie theaters do not pay performance royalties) and from television broadcast can be collected and paid to the author.

On the other hand, a songwriter may be specifically employed to write incidental music for a film or for a TV commercial. Such an arrangement may be structured as a "work made for hire" whereby the songwriter is employed to write specific music which may ultimately be owned by the producer of the film. There is no set fee for such an arrangement - it can range from a few thousand dollars for a small budget project to hundreds of thousands for a blockbuster film score. However, in such circumstances, since the production company would own the copyright, the author may not be entitled to performance royalties from his or her performing rights society. This would depend on the negotiation of the contract between the parties.

Since this is a complicated area the details of which are beyond the scope of this article, I would suggest that if such an offer is made to you, an experienced entertainment lawyer would be a good investment. My advice on such matters is always “don’t sign anything – other than an autograph – unless you have a lawyer review it first!”

Wallace Collins is an entertainment and intellectual property lawyer based in New York with more than 30 years of experience. He was a recording artist for Epic Records before receiving his law degree from Fordham Law School. Tel: (212) 661-3656; www.wallacecollins.com